Oliver Coates shares the track 'Charlev' along with the announcement of his forthcoming album 'For Shelley’s on Zenn-La' out 7th September via RVNG Int. Watch the Leah Carmen Walker directed video above.

Shelley’s on Zenn-La was made between the Elephant and Castle neighborhood of London and a future dreamscape. In this realm out of time and space, Shelley’s (Laserdome) – a once-legendary late 80s / early 90s nightclub in the industrial town of Stoke-on-Trent in the north of England – can simultaneously exist on the fictional planet of Zenn-La, and can house a devotional, alien ritual of early UK rave culture, pioneering IDM, and deep minimalism.

Cellist, composer, and producer Oliver Coates has been an artist in residency at London’s Southbank Centre, and received the Royal Philharmonic Society Young Artist Award. Coates has contributed to the recordings of Radiohead, and collaborated with Laurie Spiegel and John Luther Adams. He has also been commissioned for string and electronic arrangements by visual artist Lawrence Lek, recorded with composer Jonny Greenwood on the scores for Paul Thomas Anderson’sThe Master and Phantom Thread and collaborated with musician Mica Levi on the 2016 album Remain Calm.

North London’s Sorry have shared their new track and video ‘Jealous Guy’ on Domino, watch above.

‘Jealous Guy’ is Sorry’s first new music of 2019, following their acclaimed 7” ‘Showgirl’/’Twinkle’, which received glowing praise from Pitchfork and Dazed, and saw the band perform live for Marc Riley on BBC Radio 6 Music - and ‘Starstruck, a track that caught the eye of BBC Radio 1, seeing multiple plays across the station this year and last.

A sideways look at the John Lennon and The Plastic Ono Band song of the same name, ‘Jealous Guy’s buoyant tone finds a perfect juxtaposition cut with principal songwriters and vocalists Asha Lorenz and Louis O’Bryen’s sly and witty lyrics: “I'm just a jealous guy, watch out.” The riotous video for ‘Jealous Guy’ was directed by the band’s Asha, frequent Sorry visuals collaborator Flo Webb - the pair operate under the Flasha moniker - and Jasper Cable-Alexander. Asha explains, “We played on the saxophone idea - I guess like a Madness or The Specials video, or like The Blues Brothers, sharply dressed and funny, with interesting shots of us about town. The theme of jealousy runs through the video and the last shot is me [Asha] killing Louis due to her jealousy, after the realisation that Louis is too good at writing songs.”

Centred around Asha and O'Bryen, two 20 and 21-year-old childhood best friends, Sorry were signed by Domino after developing a reputation as the most thrilling new band on London’s underground circuit. Sorry’s lineup is completed by Lincoln Barrett on drums and bassist Campbell Baum.

Following the recent announcement of their third album, Serfs Up!, Fat White Family have shared the video to Tastes Good With The Money, an absurd Monty Python inspired ‘romp’ directed by Roisin Murphy. Watch above.

Talking about the video, Roisin said:

The idea of referencing Monty Python partly came out of the somewhat absurd and confusing political landscape that we are now living in Britain, Python seems prescient. The British laughing at themselves, a certain kind glee even in the loss of empire, singing as the ship goes down, well it just seems so...of the moment. There is this deep ambivalence to the establishment that resonates with the Fat Whites own irreverent world view.

Most of all I wanted an idea that would give them the confidence and the space to really let go and just perform, too allow them to be raw in what is essentially an unnatural situation for a bunch of ne’er do well musicians.

When I look at the video, what I see is the trust they put in me and I’m so proud of that. Maybe it’s because I am a performer too but they let themselves be put in a kind-of vulnerable situation; they allowed themselves to be foolish, silly and absurd in a way that could have gone tits-up, however, the result is hilarious and the performances are second to none.

Additionally, the band are set to play a number of in-store shows the week of release of Serfs Up! The London & Kingston in-stores give fans a chance to see the band perform their unmissable full live show in tiny spaces, while the remaining shows see the band perform stripped back re-imaginings of the songs in a baroque style.

The secret electronic album that Stephen Malkmus has been telling everyone about will see the light of day on March 15th, when it’s released on Domino. The first taste of Stephen’s new groove comes with the release of single ‘Viktor Borgia’, and its accompanying video starring Stephen alone in a dance club. Watch above.

The title playfully merges the name of the comedian-pianist and the ruthless dynasty of Italo-Spanish nobles. With its stately melody and the almost-English-accented vocal, the coordinates here are early Human League or even Men Without Hats. “I was thinking things like Pete Shelley’s ‘Homosapien’, the Human League, and DIY synth music circa 1982,” says Stephen, adding “and also about how in the New Wave Eighties, these suburban 18-and-over dance clubs were where all the freaks would meet – a sanctuary.”

Groove Denied will shake up settled notions of what Malkmus is about and what he’s capable of, repositioning him in the scheme of things. But looking at it from a different angle, his engagement with state-of-art digital tech actually makes perfect sense. After all, Nineties lo-fi – the sound in which he and Pavement were initially vaunted as leaders and pioneers - was nothing if not insistently sonic – it was all about the grain of guitar textures, about gratuitously over-done treatments and ear-grabbing effects. Noise for noise’s sake. As Stephen tweeted recently on the subject of Auto-Tune’s omnipresence in contemporary music-making: “We long 4 transformation....and we humans fucking luv tools.”

Following the release of Across The Meridian – their first album in 11 years – Pram have shared a new video for ‘Doll’s Eyes’, directed by Scott Johnston. Watch the video above.

"Pram's music often conjures a world for me that lies disconcertingly between adult nostalgia, childhood terrors,” says Johnston of the new video. “For this track I took those feelings literally! The concept became, what if I were making this video when I was a 12-year old home movie monster kid, using Super8mm, crude props and friends/family pets, all mashed up with a teen's heightened view of love and obsession?"

Released in 2018, Across The Meridian is a celebration of Pram’s unique vision, focused into a beautifully constructed and tautly produced soundworld. As with their previous albums, Across the Meridian mixes instrumentals and songs, weaving a gleeful path through the musical territory of film scores, 30s jazz, sun-drenched pop, electronica, and post-punk experimentation. Haunting and wistful vocals are set to a variety of soundscapes, sometimes appearing as a snatched fragment of the subconscious and dreamlike, at others crafting a story of longing or regret, drawing the listener into Pram’s uncanny world through the mirror. Newcomers to Pram will find a richly detailed collage of influences ranging from exotica, Krautrock and the forgotten film soundtracks that went on to inspire contemporaries Stereolab & Broadcast.

Aldous Harding announces her latest album 'Designer' Out 26th April 2019 via 4ad. Watch the video for 'The Barrel' above.

Designer finds the Aldous Harding hitting her creative stride. After Party, Harding came off a 100-date tour last summer and went straight into the studio with a collection of songs written on the road. Reuniting with John Parish, producer of Party, Harding spent 15 days recording and 10 days mixing at Rockfield Studios, Monmouth and Bristol’s J&J Studio and Playpen.

From the bold strokes of opening track ‘Fixture Picture’, there is an overriding sense of an enigmatic artist confident in their work, with contributions from Huw Evans (H. Hawkline), Stephen Black (Sweet Baboo), drummer Gwion Llewelyn and violinist Clare Mactaggart broadening and complimenting Harding’s rich and timeless songwriting.

After a seven year break, Clinic, Liverpool’s cherished post-punk pop experimentalists return with album number eight, released on May 10th by Domino Records. The first track to be shared from Wheeltappers and Shunters is ‘Rubber Bullets’, watch the Joseph May directed music video above.

Wheeltappers and Shunters is neither a celebration nor a denigration of the culture of the era in which Blackburn and his collaborator-in-chief, Hartley, grew up. “It’s a satirical take on British culture - high and low,” explains Blackburn. “It fascinates me that people look back on the 1970s as the glory days. It’s emerged that there was a darker, more perverse side to that time. When you look back on it now it was quite clearly there in mainstream culture.”

The album was recorded last year in founding band member Hartley's Liverpool studio, before they brought in Dilip Harris (King Krule, Sons Of Kemet, Mount Kimbie) to mix it. “We thought it felt right to make a fun, dancefloor album in these dark and conservative times,” Blackburn continues. Fun, sure, but this is Clinic – their brand of fun oozes with menace.

The Great Britain that Clinic are evoking is not that ancient, bucolic past of village green cricket, half a mild and hanky-waving Morris Dancers that many seem so determined that the country should return to, but a rather more sleazy past. Clinic’s reverie is for a time when Blackpool was the pleasure capital of the kingdom and the public was kept entertained by travelling circuses and the dirty glamour of the funfair; tacky end of the pier merriment and enforced fun at Butlins; when bell-ringing town criers bellowed their nonsensical broadsides into the ether.

This blog is designed to assist people we know in navigating our sea of
artists for their media music searches across both the Domino Recording
and Domino Publishing companies. It also includes music from labels we
sub-publish. Music delivered via this blog is for promotional use only
and delivered to you at our discretion. If you have any comments or
queries please feel free to contact us.